Student Instrument Guide and Technique Assignment
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Every year at MVHS, your first semester project will be to complete this Instrument Guide. Download the attachment above and begin working on it as soon as possible. Different parts of the assignments will be due throughout the first semester. We hope you will find this information beneficial to your understanding of your instrument. This project is in conjunction with Mr. Scherr’s Master Degree through the American Band College.
Index
The Oboe Family Equipment and Materials - Parts of the Oboe - Required Equipment - Body Materials Maintenance, Instrument Brands, Upgrades Types of Oboe and Purchasing a Oboe Assembling the Oboe Playing Posture Bassoon Embouchure Tone Concepts Vibrato Tone Production Problems and Remedies Making Reeds: Intermediate - Advanced Players Only Fingerings Charts Common Pitch Problems - Tuning Guide Warm Up Suggestions Method Books Solo Literature Extended Technique Resources and Helpful Links Youtube Videos |
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The Oboe Instrument Family
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Piccolo Oboe (Musette Oboe): The piccolo oboe, also known as the piccoloboe and historically called an oboe musette, is the smallest and highest pitched member of the oboe family. Pitched in E-flat or F above the regular oboe (which is a C instrument), the piccolo oboe is a sopranino version of the oboe, comparable to the E-flat clarinet.
Oboe: Known originally as the Hautbois, the Oboe is pitched in concert C, and has a density of sound, & warm and supple tone that has made it well loved by musicians & music lovers around the world since it’s first creation and use in the 17th Century. Oboe D'Amore: The Oboe D’amore is the ‘mezzo-soprano’ Oboe in the Oboe Family. It has a crook and pear-shaped bell like the English Horn, and uses the same fingering as the Oboe, but is pitched a minor 3rd below in A. The Oboe d’amore produces a slightly mellower and quieter sound than the Oboe. Called the ‘love Oboe’ by Bernard Shaw, the origins of its name are unfortunately widely unknown. |
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English Horn or (Cor Anglais): The English Horn, or ‘Cor’ as it is often affectionately called, was first created sometime in the 17th century. It has a deeper, more sonorous, rounder sound than the Oboe, and is quite frequently used for this attribute.
Bass Oboe (Baritone Oboe): The bass oboe or baritone oboe is a double reed instrument in the woodwind family. It is about twice the size of a regular (soprano) oboe and sounds an octave lower; it has a deep, full tone not unlike that of its higher-pitched cousin, the English horn. The bass oboe is notated in the treble clef, sounding one octave lower than written.The instrument's bocal or crook first curves away from and then toward the player (unlike the bocal/crook of the English horn and oboe d'amore), and looks rather like a flattened metal question mark. The bass oboe uses its own double reed, similar to but larger than that of the English horn.
Heckelphone: The heckelphone is approximately four feet in length, and is quite heavy: it rests on the floor, supported by a short metal peg attached to the underside of its bulbous bell. An alternate second bell, called a "muting" bell, is also available, which serves to muffle the instrument for playing in a small ensemble. This arrangement is unique among double-reed instruments. It is played with a large double reed that more closely resembles a bassoon's than an oboe's reed.
Bass Oboe (Baritone Oboe): The bass oboe or baritone oboe is a double reed instrument in the woodwind family. It is about twice the size of a regular (soprano) oboe and sounds an octave lower; it has a deep, full tone not unlike that of its higher-pitched cousin, the English horn. The bass oboe is notated in the treble clef, sounding one octave lower than written.The instrument's bocal or crook first curves away from and then toward the player (unlike the bocal/crook of the English horn and oboe d'amore), and looks rather like a flattened metal question mark. The bass oboe uses its own double reed, similar to but larger than that of the English horn.
Heckelphone: The heckelphone is approximately four feet in length, and is quite heavy: it rests on the floor, supported by a short metal peg attached to the underside of its bulbous bell. An alternate second bell, called a "muting" bell, is also available, which serves to muffle the instrument for playing in a small ensemble. This arrangement is unique among double-reed instruments. It is played with a large double reed that more closely resembles a bassoon's than an oboe's reed.
Equipment and Materials
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Needed Equipment
1. Reed case - Get a kind where the reeds lay in - Don't store them in plastic tubes so reeds don't dry up - I recommend the six reed case from Miller Marketing 2. Swab -Silk swab that pulls through the instrument - Must not have any knots in string or folds in silk. 3. Cigarette or perm paper - To soak up water in tone holes to stop gurgles. - Do not use regular paper or facial tissues 4. Case humidifier if have wood instrument for winter or dry climates 5. Small screw driver 6. Case cover, especially for wood instruments 7. Tuner |
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Oboe Maintenance
Assembly
Grease tenon corks with cork grease before assembly so that they work freely. Dry, tight corks may cause bent keys or broken tenons during assembly. Grasp the upper joint with the left hand near the bottom and the lower joint with the right hand near the bottom and carefully push the two joints together with a slight back and forth twisting motion. Line up the bridge keys carefully to avoid meshing them together and bending them. Grasp the lower joint near the bottom and attach the bell. If the bell has a key mechanism, be careful to line up the bell’s key mechanism with that of the lower joint and avoid bending them. Insert the reed into the receiver at the top of the oboe holding it by the cork. NOTE: The oboe should NEVER be stood upright on its bell on the floor or any other surface! It will easily fall in that position resulting in very serious consequences.
Daily Cleaning
The inside of the oboe should be cleaned after playing with feathers or an oboe cleaning swab. The reed should be stored in a vented case in order to allow it to dry. Note: Chewing gum, soft drinks, and other foods containing sugar are very harmful to oboe pads. Avoid these things whenever possible before playing or rinse your mouth thoroughly before playing the instrument.
NEVER:
* Run water through the oboe or submerse it in water.
* Turn the adjustment screws found on some of the keys--these are regulating screws and should not be tightened or loosened by the player.
* Use materials, oils, or other products not specifically designed for use in oboe maintenance.
Grease tenon corks with cork grease before assembly so that they work freely. Dry, tight corks may cause bent keys or broken tenons during assembly. Grasp the upper joint with the left hand near the bottom and the lower joint with the right hand near the bottom and carefully push the two joints together with a slight back and forth twisting motion. Line up the bridge keys carefully to avoid meshing them together and bending them. Grasp the lower joint near the bottom and attach the bell. If the bell has a key mechanism, be careful to line up the bell’s key mechanism with that of the lower joint and avoid bending them. Insert the reed into the receiver at the top of the oboe holding it by the cork. NOTE: The oboe should NEVER be stood upright on its bell on the floor or any other surface! It will easily fall in that position resulting in very serious consequences.
Daily Cleaning
The inside of the oboe should be cleaned after playing with feathers or an oboe cleaning swab. The reed should be stored in a vented case in order to allow it to dry. Note: Chewing gum, soft drinks, and other foods containing sugar are very harmful to oboe pads. Avoid these things whenever possible before playing or rinse your mouth thoroughly before playing the instrument.
NEVER:
* Run water through the oboe or submerse it in water.
* Turn the adjustment screws found on some of the keys--these are regulating screws and should not be tightened or loosened by the player.
* Use materials, oils, or other products not specifically designed for use in oboe maintenance.
Instrument Brands and Purchasing an Oboe
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Body Materials
Oboes are made of grenadilla wood or high quality plastics, generally known as resonite. Grenadilla has a long tradition of use by professional oboists worldwide because of its warm, rich tone. However, the quality of non-wood instruments has risen to a highly respected level, making them popular with both students and professionals. The plastic resin used for manufacturing instruments is highly stable and durable. Plastic oboes require less maintenance and are not susceptible to cracking. Many of the most respected oboe manufacturers offer their professional model oboes in plastic or with a plastic upper joint in place of traditional grenadilla wood. This is advantageous because the upper joint on the oboe is the portion most likely to experience cracking due to fluctuations in temperature and humidity. Student Oboes: Student oboes provide an excellent start for the first few years of music education. Oboes designed for students are made of grenadilla wood or plastic. For younger beginners plastic is the ideal material because it is very durable. Grenadilla is great for a beginning oboe player who started on another instrument, such as clarinet. Also student oboes also have fewer keys than intermediate or professional instruments. However, the keys available on a student oboe will not limit the beginner's ability to perform in a concert band when more complicated pieces of music are introduced in high school or college. Intermediate Oboes: Higher quality materials, more keys and some hand refinement separate a intermediate oboes from student oboes. Once a student is established and is learning the fundamentals of good playing, it is important to purchase an intermediate instrument to continue his or her musical growth. Professional: Designed and constructed with professional musicians in mind, professional oboes find favor among more serious students as well. Most professional oboes are made of all grenadilla wood, however, a few feature a crack-proof upper joint made of plastic with a grenadilla lower joint and bell. Professional oboes also feature a system of keys referred to as a full conservatory. The full conservatory is necessary for advanced pieces of music, aiding in access to certain keys and an even dynamic range. Recommended Oboe Brands
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Key Options
Low Bb: This key extends the range of the oboe to low Bb. Basic student models typically only play to low B natural. Open holes in the bell without a mechanism or key to cover them indicate there is not a low Bb on the oboe. Left Hand F Key: This is essential to more advanced players in executing certain passages, and in choosing the desired tone color. The left hand F key allows the player an alternative fingering for playing F. Depending on preference, a forked-F is another option. Forked F and Bb Resonance Keys: These improve the quality and pitch of their respective notes. Some basic student models, as well as professional Tabuteau oboes, do not have these resonance keys. Ab-Bb Trill Mechanism: This greatly simplifies the fingering of this trill. Without this mechanism, creating a true trill between these two notes is not possible. G#-A Trill Key: Depression of this key simplifies the trill and improves the intonation of the A. Double Ring D#-E: This mechanism allows an easy fingering for the trill and improves the intonation of the E. Left Hand C-D Trill: Provides an alternative to the right hand C-D trill lever. Auxiliary Low C: This key facilitates the low C to C# transition and simplifies the trill. Low B-C# Trill Mechanism: Allows for a seamless transition in executing this trill. |
Assembling the Oboe
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Playing Posture
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1. Body Position
a. Sit on front of chair b. No part of the body touches any other part of the body c. Chin parallel to floor. d. Oboe bell in front of knees similar to clarinet e. Tone determined by angle 2. Hand position a. Right Hand - Thumb "half and half" under the thumb rest. - Curved fingers over all keys. - Pinky rests on low C key b. Left Hand - Thumb either on octave key or right below. - Doesn't float (like clarinet) or squeeze (like saxophone) - First finger on tip slanting toward side octave (very important) - Large join of first finger should be close to octave key. - Curved fingers over all keys. - Pinky rests on low B key. - Practice moving fingers up and down separately and together - Fingers lift only as high as key height |
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Oboe Reeds
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1. For Beginners commercial are OKAY.....
a. Lesher medium or medium Hard (Soft reeds don't speak well) b. Fox Artist Medium or Medium Hard c. Emerald Medium d. Need to use harder reed so get used to resistance 2. For advanced, professionally hand made. a. Many to select from online b. If Trying new reed source, buy 2 or 3 3. NO FIBER CANE - NO WIRES ON REEDS - NO FRENCH (SHORT) SCRAPE-----> a. If reed doesn't seal or out of tune, return. 4. When you find a supplier you like a. Order large number. b. Order often. Remember everyone has festival/contest at the same time.... (ORDER AHEAD OF TIME) ADJUSTING THE COMMERCIAL OBOE REED It is important to know the techniques used in adjusting commercial reeds. The following four pieces of simple equipment are essential for students to begin adjusting reeds: A SHARP KNIFE: A sharp knife for scraping the reed is the most important tool. It can be purchased from reed making suppliers or handmade. The blade may be either hollow ground or with a beveled edge. A sharpening stone and honing oil are also important. It is necessary to keep the knife-edge sharp and free from nicks. PLAQUE: The plaque is a small piece of metal that is inserted between the blades of the reed while scraping. It supports the blades. Plaques are available commercially or they can be handmade from a single-edge razor blade. CUTTING BLOCK: The cutting block is used to support the tip of the reed while clipping it with the knife. They are available commercially or can be handmade from a piece of hardwood that has been smoothly sanded to eliminate all grooves. FISHSKIN: Commercially, fishskin is called “Goldbeaters Skin”. It is used to seal the sides of the reed without adding weight to the reed. Added weight will inhibit the reed’s vibrating qualities. A reed must not leak air below the portion that is in the mouth. Cut a strip of fishskin about 11⁄2” by 1/4”. While slightly moistened, pull the strip of fish- skin tightly around the reed, starting midway or less up the reed. Pull tightly around the reed spiraling down- ward until it overlaps the top of the winding thread. Do not over moisten. If the fishskin is too wet it will shrivel up and disappear. A little practice is necessary to handle it correctly. PITCH OF THE REED Pitch of the reed is determined by: 1. LENGTH of the reed – The reed should play in tune when it is inserted into the oboe to the stopping point. 70-72mm is a good average total reed length for most instruments and players. 2. OPENING of the reed is equally important. Reed openings can be easily adjusted. A reed that is too open will usually play flat. A reed which has a too-closed opening will tend to be sharper in pitch. Old and worn-out reeds become more closed and become too sharp in pitch. The opening of the reed is an important factor for other reasons as well. If a reed is too open, players are forced to “bite”, whether they are aware of it or not, and the embouchure will quickly fatigue. If the reed is too-closed, it is impossible to blow into it with adequate breath support. |
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Making Your Own Reed
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1. Getting Started
a. YOU NEED a professional to teach you. Do not attempt this on your own. b. Don't buy commercial reed making kit c. At first, most don't turn out 2. Tips to adjusting reeds a. IF FLAT - Lightly scrape or sand tip - Clip tiny amount from end of tip - If too open, flex by pinching tip closed and gently work back with fingers - Can scrape in the "w" part b. IF SHARP - Harder to adjust - Apply pressure perpendicular to reed to make open. - Sandpaper heart area some. - Lower the "w" at bottom of the back - Sand tip on sides and corners |
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Embouchure
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Characteristic of a Good Embouchure
Step 1: - Drop jaw open - Teeth far apart as possible (say home or oh). 
Step 2: - Push the corners in toward teh center
- Top lip like clock at 10 or 2. Pull down and over teeth. - Keep the inside of the mouth open and round by saying "OH" 
Step 3: - Lay reed on center of bottom lip at 45 degree angle
- Closer to tip than string - Tip of reed behind top teeth 
Step 4: - Roll in Slightly
- Inhale through mouth, leaving reed on bottom lip. - Close around reed and blow 
- Reed should be fairly firm and secure in mouth,
- Teeth provide support for lips, not for reed. - Lips support reed. 
Embouchure Syllables
"oh" lowest register "ah" around middle C "oo" first octave key G "ee" high D Things to Avoid Pancake, smile Syllable "ee" Too much reed in mouth Biting reed Pulling cheeks Bunched chin |
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Fingerings
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There are eight harmonic tones available on the oboe. These tones, with their respective fingerings, are given below.
In each case, the fingering is simply that of the tone a twelfth lower, with the addition of one of the octave keys. These harmonics are produced as the third partials of their respective fundamentals, and the tone quality tends to be softer, more “covered,” and more stable than if the same pitches were played with the conventional fingerings. Harmonics from G# through C are not available on oboes with automatic octave keys. As has been mentioned earlier, the thumb octave key is used for fourth-space E through G# and the side octave 
key is used for A through C above the staff. The C#, D, and D# in the staff are played with the half-hole. This means that the small vent hole for the left forefinger must be open while the plate itself is closed. This vent hole acts as an additional octave key. Students often tend to be careless about the use of the half-hole and the octave keys, and it is the responsibility of the teacher to correct such inaccuracies.
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Tonguing
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1. Tip of tongue touches tip of reed (tu or ta).
2. Sometimes can teach tonguing on reed first. 3. Must have Propper handposition first 4. Must have achieve a successful tone first. 5. Start with legato tongue first on one note. - Stop whole notes on beat one of next measure - Must not stop note with tongue - Must monitor this constantly - All notes touch - Teach different notes values 6. After one note articulation is mastered start learing finger-tongue by moving notes |
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Vibrato
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Vibrato on the oboe is like a vocal vibrato: it is the natural result of a mature and efficient tone production technique. Thus, while it is rare to find a fourteen year old singer with a decent vibrato, it is just as rare to find a thirty year old singer without one. As technique and physique develop, so does vibrato. Thus, the placement of the vibrato the long-standing rivalry between "throat" and "diaphragm" vibratos is largely imaginary. The actual vibrato is created around the larynx, felt high in the chest. The player may perceive the origin differently, but that's where it ends up.
Many instructors prefer to teach tone production and let the vibrato come naturally, which it usually does. For those rare occasions when it doesn't, a regimen of controlled abdominal thrusts usually gets it started. The exercise is likely familiar to anyone who has ever studied the oboe gradually increase the speed of abdominal bumps until they reach five or so per second. At that point, a sympathetic vibrato in the upper chest will become apparent and should be encouraged. Once reliable, refinement can begin. Exercise (to develop a natural, singing vibrato) |
a. Need to teach as is part of characteristic sound.
b. Throat is most common way. c. Similar to whistling - Whistle "Yankee Doodle" to feel sensation - Use throat muscle, no tonguing. d. Method - Use metronome and set around 60 - Use half hole D or D#/Eb - Do on single note - Expand to scales without tonguing - Start on D, crescendo to E, decrescendo to D and vibrato violently - Keep increasing metronome speed - Incorporate on all notes 2 beats or longer - Don't always feel progress - just begin to be there - Let it evolve |
Use a metronome setting of 60 as your pulse. Begin by sustaining a tone (use an easy, free, note in the middle of the staff) and "bumping" it very hard from the abdomen once each pulse. In other words, make a very fast crescendo/diminuendo once each second. It needs to be quick and firm rather like driving over a speed bump too fast. When this is consistent, increase the speed to twice per second, then three times, then four, up to five. As the speed increases, the bumps will gradually become less violent.
At around four pulses per second, a sympathic vibrato will begin to be felt around the larynx the student will perceive it at the very bottom of the neck where it meets the chest. It is this vibrato that we want to encourage. The whole point of the pulsing exercise is to cause this sympathetic vibrato to occur. Once it does, the abdominal pulses can cease and the support held steady, while the vibrato takes place in the upper chest. It will take the student some time to learn to control and refine this, but they will eventually gain a beautiful singing vibrato.
Vibrato produced in this way is completely natural, but rather air-speed dependent. If the air intensity drops too low (which it will when playing very softly, for instance), the vibrato will cease to occur by itself. However, after enough experience with producing it naturally, the student will also learn to create the same mechanism "artificially" to apply vibrato in any situation.
A few notes on the use of vibrato: Vibrato is decoration. It is not an essential part of oboe sound; it is an expressive device used to help explain the music. Vibrato used continuously is no more interesting than no vibrato at all. Be sure to use it with discretion. Be sure to use it only after the basic tone and phrase are beautiful think of it as painting a piece of furniture. If the piece is ugly or damaged, or even merely scratched, paint won't help it look better. Be very attentive that you are not using vibrato to hide an underlying lack of integrity or intensity in your tone production.
Exercise (very difficult)
Play any slow Ferling etude with no vibrato at all. Make all of your dynamic and color changes; play all the nuances and inflections you want, but don't use any vibrato. Only after you can play in tune without vibrato, and play with true propulsion and intensity in your phrasing with no vibrato, should you allow it back in. Then it will fulfill its true purpose of making your playing more beautiful.
At around four pulses per second, a sympathic vibrato will begin to be felt around the larynx the student will perceive it at the very bottom of the neck where it meets the chest. It is this vibrato that we want to encourage. The whole point of the pulsing exercise is to cause this sympathetic vibrato to occur. Once it does, the abdominal pulses can cease and the support held steady, while the vibrato takes place in the upper chest. It will take the student some time to learn to control and refine this, but they will eventually gain a beautiful singing vibrato.
Vibrato produced in this way is completely natural, but rather air-speed dependent. If the air intensity drops too low (which it will when playing very softly, for instance), the vibrato will cease to occur by itself. However, after enough experience with producing it naturally, the student will also learn to create the same mechanism "artificially" to apply vibrato in any situation.
A few notes on the use of vibrato: Vibrato is decoration. It is not an essential part of oboe sound; it is an expressive device used to help explain the music. Vibrato used continuously is no more interesting than no vibrato at all. Be sure to use it with discretion. Be sure to use it only after the basic tone and phrase are beautiful think of it as painting a piece of furniture. If the piece is ugly or damaged, or even merely scratched, paint won't help it look better. Be very attentive that you are not using vibrato to hide an underlying lack of integrity or intensity in your tone production.
Exercise (very difficult)
Play any slow Ferling etude with no vibrato at all. Make all of your dynamic and color changes; play all the nuances and inflections you want, but don't use any vibrato. Only after you can play in tune without vibrato, and play with true propulsion and intensity in your phrasing with no vibrato, should you allow it back in. Then it will fulfill its true purpose of making your playing more beautiful.
Common Problems when Playing the Oboe
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Problem: Poor low register (below G) response, with explosive attacks and loud dynamics
Possible Causes:
Problem: Poor low register response with shallow tone, imprecise accuracy and clarity; often the lowest notes "gurgle" Possible Causes:
Problem: Left Eb does not speak easily Possible Causes:
Problem: The response of Low register or right hand notes is intermittent Possible Causes:
Problem: Half-hole notes speak down the octave Possible Causes:
Problem: Notes gurgle Possible Causes:
Problem: Attacks are unclear, and not predictable Possible Causes:
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Problem: Notes squeak
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Problem: Student has trouble getting high d to respond Possible Causes:
Problem: Student blips when going over 'the break' to C# or D Possible Causes:
Problem: Student blips when going over 'the break' to C# or D Possible Causes:
Problem: Student chin 'crumples' Possible Causes:
Problem: Low register is flat/sharp Possible Causes:
Problem: High register is very sharp, pinched Possible Causes:
Problem: High register notes are flat/unstable Possible Causes:
Problem: 2nd space C is flat sharp, or ugly sounding Possible Causes:
Problem: Too soft in high register Possible Causes:
Problem: Student can not diminuendo smoothly, or play softly: tends to be sharp in soft dynamics Possible Causes:
Problem: Forked f is stuffy, unresponsive Possible Causes:
Problem: Tone is generally harsh, and not in control Possible Causes:
Problem: Tone is generally flabby , unfocused and dull Possible Causes:
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Pitch Tendencies - Tuning Guide
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1. Notes with with Problems
a. Third space C use "awh" embouchure b. Second line G down tends to be flat c. High A up usually flat because not enough air pressure d. Top space E, F#, G are sharp e. F natural tends to be flat 2. To lower sharp pitch a. Drop jaw b. Less reed in mouth 3. To raise flat pitch a. Intensify air stream b. Put slightly more reed in mouth c. Can clip reed a tiny bit |
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Warm up Suggestions
Tone and Control Begin with the slow D Major scale shown below. There are four goals:
Do this exercise three or four times, or until you're satisfied with the result. Listen carefully, and insist on the most perfect execution possible. When the D Major scale is really beautiful, switch to a D-flat Major scale and try to get the same results.
- Each note should have the most beautiful, easy, resonant sound possible. Use minimal embouchure tension and no vibrato - all the control should come from the air.
- Each note should be in tune. Usually, if the sound is working, the pitch will be good also.
- There should be the most perfect legato between notes. Move your fingers with great care, keep them close to the oboe, and don't let the air die between notes.
- Each note should sound like each other note. Not only should adjacent notes have the same tone color, but the high register and the low register should also sound alike.
Do this exercise three or four times, or until you're satisfied with the result. Listen carefully, and insist on the most perfect execution possible. When the D Major scale is really beautiful, switch to a D-flat Major scale and try to get the same results.
Long tones are next. Be sure you accomplish the following:
- The beginning and the end should be as soft as possible. My teacher, John de Lancie, likened the attack at the beginning to a "hot knife going into butter," and the end to "smoke rising in the air" you can't be sure when the smoke ends and the air begins.
- The forte in the middle should be as loud as you can play without forcing.
- There should be no dips or wiggles or wavers in the sound.
- Pitch must remain constant.
- The long tone needs to be active throughout. Don't start soft, get loud, stay loud, and get soft. It should always be getting louder or softer.
- No vibrato. If a trace of natural vibrato appears at the very top of the tone, that's fine.
Here are two variations to try after the steady tone is really good. The first is moderately difficult, the second is extremely difficult.
Technique Technical warm-ups are next. I begin with scales: all major and minor scales (three forms). The range of the scales will differ from individual to individual. I recommend full-range scales (composers rarely oblige by writing them neatly from tonic to tonic). Start from the tonic, go to your highest note, go down to B or B-flat, and back to the tonic. Younger students should be able to play with facility to high E-flat. More advanced players need facility up to high G. Use the metronome and set it at a speed where you can play the scales smoothly, evenly and cleanly. Never exceed a speed that you can control. Ease and facility will come from well rehearsed, frequently repeated correct motions. Speed without control is frightening. I play sixteenth notes at 112 on the metronome, but this and other metronome speeds should be regarded as suggestions only. Begin at a tempo where control and smoothness are possible.
Then, major scales in broken thirds. Again, play them full range beginning and ending on the tonic. Sixteenth notes at 92.
Then, the first two pages of the Vade Mecum of the Oboist. I play them at 116-120, but if you've never learned them, you may have to start at half that speed.
Then, practice articulation. I just use an easy scale (F Major or G Major) and play it for one octave with four (or eight) repetitions on each scale degree. Start at a speed you know you can manage (I start at 100 playing sixteenth notes), and increase one click at a time until you reach maximum. Then (and this is important), go back down one click at a time until you're out of the danger zone and can play with freedom and relaxation. For variety, use the exercise on page 16 of the Vade Mecum and apply the same practice method, changing the speed every four measures.
You may want to vary this routine to suit specific needs: diminished arpeggios, whole tone scales, pentatonic scales, scales in broken fourths, scales in broken octaves, etc. could be included if your repertoire demands it. Also, there are many good books - Bleuzet, Gillet, Debondue, etc. - that include a daunting variety of scale exercises.
The aim of my whole warm-up is to be as efficient as possible and to cover the most useful territory in the shortest time. Once learned (which takes a while), this whole routine shouldn't take longer than half an hour, and prepare you to play well for the rest of the day.
Then, major scales in broken thirds. Again, play them full range beginning and ending on the tonic. Sixteenth notes at 92.
Then, the first two pages of the Vade Mecum of the Oboist. I play them at 116-120, but if you've never learned them, you may have to start at half that speed.
Then, practice articulation. I just use an easy scale (F Major or G Major) and play it for one octave with four (or eight) repetitions on each scale degree. Start at a speed you know you can manage (I start at 100 playing sixteenth notes), and increase one click at a time until you reach maximum. Then (and this is important), go back down one click at a time until you're out of the danger zone and can play with freedom and relaxation. For variety, use the exercise on page 16 of the Vade Mecum and apply the same practice method, changing the speed every four measures.
You may want to vary this routine to suit specific needs: diminished arpeggios, whole tone scales, pentatonic scales, scales in broken fourths, scales in broken octaves, etc. could be included if your repertoire demands it. Also, there are many good books - Bleuzet, Gillet, Debondue, etc. - that include a daunting variety of scale exercises.
The aim of my whole warm-up is to be as efficient as possible and to cover the most useful territory in the shortest time. Once learned (which takes a while), this whole routine shouldn't take longer than half an hour, and prepare you to play well for the rest of the day.
Method Books
Barret. Oboe Method: The complete original edition of the time-tested oboe method, which includes many etudes, duets and performance pieces.
Gekeler, Kenneth. Method Oboe Book 1 & Book 2: Book I of this time-honored method progresses slowly and carefully for beginners, establishing a firm foundation. In addition to the excellent selection of melodic studies, there are many duets for teacher/student playing. With the more advanced melodious and technical studies in Book II, the method covers the gamut of oboe playing, and is an essential part of the educational literature for oboe.
Pares, Gabriel. Pares Scales. (Rubank) An excellent beginning technique book.
Sellner, Joseph. Mèthode pour hautbois ou saxophone, Bk. 2 (Costallat)
An excellent collection of short etudes for practicing articulation, phrasing and technique.
Snavely, Jack. Basic Technique for Oboe. (Kendor Music) An excellent intermediate technique book.
Hite, David. Foundation Studies. (Southern Music Company) An excellent technique book, employing scales, chords, etc.
Andraud, Albert. Vade-Mecum of the Oboist. (Southern Music Company) Many good technical exercises and studies. Excerpts are included, but are not always accurate.
Gekeler, Kenneth. Method Oboe Book 1 & Book 2: Book I of this time-honored method progresses slowly and carefully for beginners, establishing a firm foundation. In addition to the excellent selection of melodic studies, there are many duets for teacher/student playing. With the more advanced melodious and technical studies in Book II, the method covers the gamut of oboe playing, and is an essential part of the educational literature for oboe.
Pares, Gabriel. Pares Scales. (Rubank) An excellent beginning technique book.
Sellner, Joseph. Mèthode pour hautbois ou saxophone, Bk. 2 (Costallat)
An excellent collection of short etudes for practicing articulation, phrasing and technique.
Snavely, Jack. Basic Technique for Oboe. (Kendor Music) An excellent intermediate technique book.
Hite, David. Foundation Studies. (Southern Music Company) An excellent technique book, employing scales, chords, etc.
Andraud, Albert. Vade-Mecum of the Oboist. (Southern Music Company) Many good technical exercises and studies. Excerpts are included, but are not always accurate.
Oboe Solo Literature
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Title
Preludio Bacchanale (Book IV of Clavier) Marche (Suite No 5. Clavier) Sarabande Rondo (Divertimento No. 11) Rigaudon (Pieces de Clavecin) Presto (Divertimento No. 12) Menuet (Three Piano Pieces) Piece V Two Contrasts A Sonnet Meditation (Sonatine in F) Siciliana Allegro (Trio No. 4) Berceuse (Opera Jocelyn) Rondeau (Book X for Clavier) Marche (Book IV for Clavier) Allegro (Trio No. 19) Aria et Valse Gavotte in Rondeau Gavotte (Harpsichord Suite No. 5) Masterworks Solos (Volume One) Musette (Anna Magdalena Bach Notebook) Apres un Reve At the Ball Berceuse Chanson Modale "abel" Le Hautbois Dormant The Earle of Oxford's Marche Sonatine Concerto for Oboe and Strings (Piano) Concerto Reflections Andantino Autumn Fantasie Shadow Dance and Lament Andante and Presto Rigaudon & Novelette (Album for Children) Impressions for Oboe and Piano Interludes for Oboe and Piano Sonata in G Minor The Winter's Psed Nocturne and Dance Aubade Danza Italiana Gavotte and Gigue Concerto in Si b Gavotte Elegiac Dance Presto Concerto Op. 7, No. 6 (in D Major) Concerto Op. 7, No. 3 (in Bb Major) Concerto Op, 9, No. 2 (in d minor) Sonata in C Major Largo and Allegretto Concerto in C Minor Concerto in G Minor Sonata in G Major Twelve Variations on a Theme by Schubert Concerto on Themes of Pergolesi Concerto Concerto for Oboe and String (Piano) Romance Fantaisie Sonata in G Sonata in g-moll Sonata in C Nocturne Introduction, Theme & Variations Concerto in Mi Bemolle Concerto in C for Oboe and Orchestra Conceto in C, K. 314 |
Composer
Cacavas Couperin Purcelli Corelli Mozart Rameau Mozart Marpurg Franck Hammer Brahms-Cacavas Buchtel Pergolesi Druschetzky Godard Couperin Couperin Druschetzky Emonet Lully Purcell Arr. Dishinger Bach Faure-Davis Tchaikowsky Mindlin Lacour Lacour Byrd Weinberger Corelli-Barbirolli Leopold Mozart Tovey Dremlyuga Baird Baird Telemann Chaminade Duck Jacob Telemann Barlow Schudel Jacques Solomon Boyce Cimarosa Head Head Head Albinoni Albinoni Albinoni Loeillet Marcello Marcello Handel Sammartini Siniguaglia Arr. Barbiroli Cimarosa Eichner Chidoni Boni C. PH. E Bach Besozzi Rosel Hummel Bellini Haydn Mozart |
Publisher
BM Medici Medici Medici Medici Medici Medici Medici Spratt Emerson BM Kjos Rubank Medici Medici Medici Medici Medici Editions R. Martin Medici Medici Medici Medici Western JTL Leduc Billaudot Billaudot Medici Fischer B & H Fischer Airy Pub. Southern Concert Works Southern Southern Medici Oxford Emerson Southern Fischer Shawnee Stainer & Bell Southern Chester Billaudot B&H B&H B&H B&H B&H B&H Chester Chester International Rubank Chester Trillenium Music Oxford B&H Oxford Leduc Chester Amadeus Chester International Music Rara Ricordi Oxford Southern |
Extended Technique
Helpful Links and References
Teaching Oboe in the Schools, American Band College Ashland, OR
Dixie Detgen, cddetgen@sbcglbal.net
http://fairyoboemother.blogspot.com/2010/04/selecting-oboe-reeds.html
http://www.karenbirchblundell.com/index.html
http://andrewhugill.com/manuals/oboe/extended.html
http://www.theoboesite.com
http://www.windshoppe.com/oboecare.htm
http://www.public.asu.edu/~schuring/Oboe/Warm-up.html
Dixie Detgen, cddetgen@sbcglbal.net
http://fairyoboemother.blogspot.com/2010/04/selecting-oboe-reeds.html
http://www.karenbirchblundell.com/index.html
http://andrewhugill.com/manuals/oboe/extended.html
http://www.theoboesite.com
http://www.windshoppe.com/oboecare.htm
http://www.public.asu.edu/~schuring/Oboe/Warm-up.html
Youtube Videos
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